Hasta La Creative!

Wieden + Kennedy recently created a pretty incredible out-of-home tourism installation for Travel Portland: the tallest freestanding cuckoo clock in the U.S.

Chainsaw sculptor J. Chester Armstrong carved the clock, made from a single Oregon maple, in the national forest just outside Portland. It took three months to make—with help from metal sculptor Nicolas Gros, clock designer/gear consultant Laurent Worme, electronics consultant Mark Keppinger, and local illustrator Patrick Long (who did the illustrations for the clock face). The clock features references to a number of Portland icons—Mt. Hood, Portlandia, beer, wine, bikers, farmers markets, roses, rivers, bridges and even Sasquatch.

W+K recently took the clock—which thematically ties into the “Portland Is Happening Now” campaign—to Seattle and Vancouver for tourism events in those cities. Every hour on the hour, hand-painted, wood-carved miniatures appear when the clock chimes. The events also featured “Portland-themed surprises, like coffee and donuts, a poet reading, a comedian performance, a tax-free tea party and naked bike riders,” the agency says.

The clock is 24.1 feet tall by 9.5 feet wide and weighs more than three tons. W+K is now looking for an indoor location in Portland to house the clock through the winter months. Check out more images below, all courtesy of the Portland Oregon Visitors Association/Travel Portland.

CREDITS
Client: Travel Portland
Project: “Portland Is Happening Now”

Agency: Wieden + Kennedy, Portland, Ore.
Creative Directors: Hal Curtis / Antony Goldstein / Jeff Gillete
Copywriter: Becca Wadlinger / Jared Elms / Ian Fairbrother
Art Director: Nate Nowinowksi
Designer: Patrick Nistler / Cassandra Swan
Media Team: Wieden + Kennedy
Interactive Strategy: Jocelin Shalom
Media/Comms Planning: Stephanie Ehui
Strategic Planning: Lisa Prince
Account Team: Ken Smith / Kristin Postill
Production: Byron Oshiro / Kristin Holder / Heather Hanrahan
Project Manager: Danna Dolich / Shannon Hutchinson
Studio Manager: Abby Marten
Executive Creative Directors: Joe Staples / Mark Fitzloff

Event Partners
Social Agency: Edelman Digital
Public Relations Agency: Lane PR
Digital Agency: Rally Group
Event Producer: Sue Cool

Design & Construction Team
Project leader and metal sculptor: Nicolas Gros (Nico),
Chainsaw carving: J. Chester Armstrong
Clock and gears design development / consultant: Laurent Worme
Microprocessor and pneumatic consultant: David Butts
Electronic consultant: Mark Keppinger
Welder: Cameron Visconty
Lead Carpenter: Matt Sykes
Fabricator: James Harrison
Lighting and carpentry assistant: Julia Zell
Carpenter: Dave Laubenthal
Sign paint: Ardis Defreece
Miniatures and Clock Face Painting: José Solis

Despite all their turnover and relentless pursuit of revenue, ad agencies often end up feeling like big families. And announcing any sort of life change to your family, especially a family of 500 colleagues, can be daunting.

So, imagine telling this family that you’ll soon begin transitioning from female to male, and you’ll have the first inkling of the road Chris Edwards began traveling nearly 20 years ago.

Edwards, a longtime creative director for Boston-based Arnold Worldwide, announced his gender transition in 1995. Over the next 12 years, he underwent 28 medical procedures to complete the transformation. And throughout, he maintained his role as a writer and creative leader, working on major national and global accounts.

In his upcoming memoir, titled Balls, Edwards shares an array of stories about his gender switch, along with the more traditional reminscences about a life in the already unpredictable world of advertising.

This week is GLAAD’s National Transgender Awareness Week, and we asked Edwards to tell us a bit more about his story. Check out our conversation below.

AdFreak: So, what’s the status of your book?
Chris Edwards: My manuscript is currently in the hands of a bunch of editors at various New York publishing houses. I’m hoping one of them will make me an offer soon. This is still a subject that makes some people nervous, so if I haven’t found the right editor by January, I will likely publish it myself. Either way, interested readers can sign up to get an alert when the book is available at chrisedwardsballs.com.

Is it really going to be called Balls? Because that’s amazing.
Ha. Yes it is. When I announced at work that I was going to be transitioning, so many people came up to me and told me I had balls. I always laughed it off with, “Well, that’s a few surgeries down the road.” But I knew what they meant, and it’s true.

It takes a lot of courage to change your gender to begin with. But to stay at the same job and do it openly in front of 500 co-workers and clients, yeah, you’ve gotta have quite the set of cojones. I was telling this “balls” story to my former boss, Pete Favat, over a few too many vodka sodas, and he was like, “Dude, that should be the title!” And we both cracked up.

The next day I thought, do I really have the balls to call my book Balls? Looks like the answer turned out to be yes. I’ve been told I’ll probably need a subtitle, though. I’m thinking “It takes some to get some,” but that might be pushing it.

I’m guessing your target audience is a lot bigger than just those considering a gender switch. Who else do you think would enjoy this book, and what do you hope they’ll get out of it?
Well, all you ad peeps will enjoy the book because agency life is the backdrop, and I name names, so you may read about someone you know. You’ll laugh a lot, too. My sense of humor helped get me through 28 surgeries and innumerable awkward moments, so it was critical that the tone of the book reflect that.

Yes, this book will surely appeal to a transgender audience, but really it’s for anyone who’s ever felt uncomfortable in their own skin—for whatever reason. It’s about having the courage to be true to yourself and realizing that, instead of fearing what other people will think, you can actually control it. I was able to use what I learned working in advertising to rebrand myself and market the “new me” to friends, family and co-workers with great success. I hope people read my story and come away empowered, inspired and more accepting of others who are transitioning.

At risk of one big spoiler here, how would you describe the way your colleagues and clients at Arnold handled your transition?
Ah, total spoiler! But without giving too much away … It was 1995. Transgender wasn’t even really a word yet. The only frame of reference people had was Silence of the Lambs, The Crying Game and guests on Jerry Springer.

I knew I had my work cut out for me when it came to changing perceptions, so I took it upon myself to be the educator. Arnold was very much like a family back then, so it felt like everyone was on this journey with me, and we all learned as we went. Some people had issues. And there were definitely some awkward moments, especially around me using the men’s room. But overall the response was incredibly positive. I’d like to think it was solely because of the way I handled the situation, but it probably didn’t hurt that Ed Eskandarian, the agency’s owner and CEO at the time, was also my father.

You were the creative director on McDonald’s “Singing Fish” spot, one of my personal favorites. What other work are you most proud of?
Ah, yes, “Frankie the Fish” will always have a special place in my heart. You know, we made a toy replica that plays the original jingle and club re-mix. I think there are still a few left on Amazon if you’re interested. Anyway, another McDonald’s spot I’m proud of is “McNuggets Guys.” I saw this YouTube video of two guys rapping about how much they love McNuggets (one of the rappers is now the star of the HBO series Silicon Valley) and turned it into a 30-second TV spot that went viral. I believe it was one of the first if not the first TV spot to use YouTube footage.

I’m also extremely proud of the early work I did for [the anti-tobacco campaign] Truth. Of all the spots I worked on, the most memorable one was probably “Project SCUM,” which is the name of the actual marketing plan Big Tobacco used to target gays and homeless people. Insane, right? While the facts we dug up were disturbing, it was so satisfying to get to do creative work that actually made a difference. Since the inception of the Truth campaign, teen smoking has gone down from 23 percent to 9 percent. Feels great to know I had a little something to do with that.

What advice would you give to someone who’s thinking about publicly changing genders but is worried it could create a difficult situation among friends, family and co-workers?
It’s pretty much the same advice I’d give anyone about to undergo a major life change of any kind: Take the lead and develop a game plan in advance. Script out and rehearse what you’re going to say. Make a list of who you want to tell personally and in what order. Educate and be patient—you may have been living with it in your head for a while, but it’s still new news to everyone else. Be open and encourage questions. Use your sense of humor to put people at ease. Oh, and read my book. 🙂

Chris Edwards is a veteran creative director and copywriter based in Boston. To sign up for updates about the status of his memoir, BALLS, visit his website.

Ice shimmers on the streets of Manhattan in Ogilvy’s animated holiday ad for Tiffany & Co. It sparkles from the trees and bridges, too. Its glow radiates from Broadway marquees and glimmers among the steel and glass towers that rise into the wintry sky.

I’m not talking about frozen water, people!

This is Tiffany, so, naturally, it’s diamonds and other precious stones illuminating a bejeweled yuletide wonderland.

The spot’s style and sensibility evokes the early Mad Men era, recalling a simpler consumer age when a glittering engagement ring could cast away all sorrows and an exquisite brooch could mend a broken heart. It’s a glitzy, romantic fantasy where an animated Audrey Hepburn wouldn’t feel out of place.

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Such seasonal wish fulfillment seems entirely on brand for Tiffany. It’s all sparkle and shine—nothing heavy, no deep meaning, as soft as falling snow.

The 80-second clip, animated by Psyop, is part of a larger campaign that also includes print and out-of-home elements. (It’s separate from the luxury subway car that Sid Lee built for the brand.) This marks Ogilvy’s first big creative push for Tiffany since winning the brand’s account back in February.

Some grinches might decry this gaudy vision, preferring more thoughtful or emotionally resonant holiday scenarios. Fair enough. But I say, there’s no harm in imagining a wondrous world where the wind echoes with love songs and every gift is an absolute gem.

CREDITS
Client: Tiffany
Agency: Ogilvy & Mather, New York
Chief Marketing Officer, Ogilvy & Mather, Lauren Crampsie
Chief Creative Officer, Ogilvy New York, Chris Garbutt
Group Creative Director, Debra Fried
Creative Director, Jeff Leaf
Executive Producer, Maureen Phillips
Animation: Psyop
Music: “Out of the Blue” by Chauncey Jacks
Executive Group Director, Leyland Streiff
Account Supervisor, Kat Bear
Account Executive, Aniella Opalacz

Kmart and Joe Boxer’s “Show Your Joe” ad (rechristened “Jingle Balls” by some) was one of the big hit of 2013’s holiday season—to the tune of 18 million YouTube views.

Now, here’s the sequel.

The musical body parts have changed a bit, but fans of last year’s spot will appreciate the surprise ending here. Plus, it looks like the original “Jingle Joes” will soon be returning—at least to this website, where you personally will be able to “give them a jingle.”

The new spot, like last year’s, was made by FCB Chicago and directed by Christian Weber. It begins airing on TV tonight.

Jim Henson creations have a storied history in advertising, going back to the 1950s, when a violent proto-Kermit pitched Wilkins Coffee with 10-second TV spots.

Tappy, the latest creation from Jim Henson’s Creature Studio, is similarly off-kilter in his role as a living credit card reader at a checkout counter. 

Tappy is the new voice of Softcard, an e-payment product that works at McDonald’s and other major chains that now accept phone swipes as currency. Softcard needed a new mascot and some rebranding after changing its name from Isis, an unfortunate name since being co-opted by the infamous terror state.

Tappy is a bit out there as a concept, turning a boring inanimate object into a somewhat obnoxious little critter, but that’s what the Henson team has done for decades, building characters for brands to support their more artful Muppet projects. In fact there’s a roster of corporate mascots that come from The Jim Henson Co. that you might not know are basically cousins to Kermit, Oscar and Big Bird. For Instance, Snuggle bear is part muppet and so is Jack In The Box’s oversized snowman.

Here’s a look at the some of the characters made by Jim Henson’s Creature Studio for commercials and video marketing:

Tappy, Softcard
In a history of oddities, Tappy stands out among the Henson creations for sheer adsurdity. He’s a credit-card reading machine with teeth. We could learn to love him, maybe, on a long enough timeline.

Mel, Kraft
Mel the MilkBite is part dairy, part granola bar and totally confused. He’s a character with an identity crisis, pondering, “What am I?”

Life, Pacific Blue Cross
Life is a Muppet in the classic sense, and he promoted insurance for Pacific Blue Cross. In the commercials, he bites people in the butt, symbolizing unexpected events like dental emergencies.

Polar Bear, Coca-Cola
The Coca-Cola polar bear, which debuted in commercials in 1993, is a classic, and Jim Henson’s Creature Shop brought him to life for appearances with the public.

Puppet Jack, Jack in the Box
Puppet Jack has very similar mannerisms to Kermit, like when he throws his hands in the air and freaks out. A true pitchman who knows where to find a receptive audience, he shows up on couches to educate stoners about fast-food deals.

Great Chocolate Factory Mystery Experience in 4D, Hershey’s

Hershey’s Great Chocolate Factory Mystery Experience is an interactive show featuring talking candy bars at Hershey’s HQ in Pennsylvania. Henson made the digital puppets for the experience.

Lenny, Lending Tree
Lenny could be brothers with Kermit, given he’s so obviously Muppet and green. He basically just follows around a guy named Len, trying to talk him out of taking a loan from a bank.

Fairy-tale characters, Reading Is Fundamental

The literacy effort Reading Is Fundamental featured puppets alongside famous cartoon characters for this ad inspiring adults to read to children.

Rico, Air New Zealand
Rico was a rather NSFW spokesppupet whose South American accent and wordplay raised eyebrows, such as when he praised “a nice Kiwi beach.” He was best known for the viral marketing collaborations with edgy celebrities, including Snoop Dogg and Lindsay Lohan.

Snuggle Bear, Snuggle

Snuggle the fabric softener bear has deep Muppet roots. The bear debuted in 1983, a creation of Kermit Love (not related to the frog), who also made Big Bird.

Red Tettemer O’Connell + Partners placed some faux personal ads in the New York, Philadelphia and Chicago sections of Craigslist’s popular “Missed Connections” department on behalf of crystal jeweler Swarovski.

One ad reads: “Love that you’re the kind of girl that scrolls through the Missed Connections and knows your smile gets attention. You’re definitely our kind of girl. We think confidence like that deserves something sparkly. Something maybe like a Swarovski Stardust Bracelet? Maybe we have one for you. Send us a message and maybe we can make this sparkle yours.”

Check out six of the listings here:

• Cute Dress Girl at Franklin Mortgage – m4w
• Black tshirt ordering latte at La Colombe – m4w (Center City)
• East Village Milk Bar Blonde with Bday Truffles – m4w (East Village)
• Blonde bartender LES, great smile – m4w (Lower East Side)
• Last friday in Old City, white sweater – m4w (Old City)
• Bright red lips w/wrist tattoo at big star – m4w

This approach is restrained compared to TiVo’s lusty romp through Missed Connections last year. And it’s probably more sincere than much of the section’s typical fare, as a few respondents will actually receive Swarovski bracelets as part of the promotion.

“We hope we’ll pleasantly surprise some curiously intrigued women on Missed Connections,” says agency chief creative officer Steve Red, “and that they’ll sparkle a little bit more the next time they catch someone’s eye.”

This much is crystal clear: In a world where everything’s an ad, sometimes even ads come disguised as other ads.

Here’s the last parody video we’re going to post from Strategy magazine’s Agency of the Year event in Toronto. It’s Leo Burnett entry, and it seems the agency has found a unique way to make its employees more creative—by having them do shots and then literally slapping the tired old ideas out of their heads.

Burnett calls it “Slapshot,” and it seems to be working, judging by the impressive numbers in the fake case study below. And certainly, beta testing in Cannes was an inspired idea.

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The slapshot idea isn’t new—most other places it’s called a “whiskey slap,” and it appears to be a party game among bros in certain parts of the country. (It also shows up in the movie Beside Still Waters, judging by the trailer.)

It’s jarring, for sure, to see the Burnett staffers, male and female, clearly getting slapped in the face for real. Though as the voiceover says at the end: “No one was harmed or offended during the making of this video. Participants were willing and even excited about their involvement. Leo Burnett company in no way endorses violence of any kind against advertising people or any people.”

Kittens are notorious advertising stars, and as it turns out, they’re miniature therapists too.

At least, that’s one takeaway from this stunt in Los Angeles, where Purina Tidy Cats invited stressed-out people into a glass room—fully visible to people on the street—and had them listen to guided mediation.

And then … the kittens are unleashed. And adorable overload ensues.

The video, from Rainn Wilson’s media company Soul Pancake, might seem better suited to cat adoption than cat litter. But it’s fun to watch, and will surely get a bajillion views.

DDB Canada takes a page from Jimmy Kimmel’s playbook in this amusing video, in which employees read mean tweets about their work.

The staffers seem both entertained and mildly horrified as they rattle off insult after insult aimed at eight of the agency’s recent campaigns.

It’s actually a fun way to showcase the work in an ego-puncturing way, and it surely went over well at Strategy’s Agency of the Year event, where self-lacerating videos are all the rage.

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Tricked-out vending machines have become the vehicle of choice for brand to push all sorts of zany promotions or social media stunts. We’re almost to the point where if you see one outside of its natural habitat, you assume it’s going to do something out of the ordinary if you just … wait for it.

Well, Canadian agency Taxi noticed that trend, too, and takes an amusing cynical stance on it in this video—yet another hilarious industry spoof from Strategy’s Agency of the Year event. Take a look below as unsuspecting passersby encounter this mysterious machine—which, well, actually does kind of surprise folks.